ALTHOUGH Spanish literature in the first half of 1936 seems far removed from actual revolution, the unrest noted in Professor E. H. Hespelt's survey for 19351 is observable. Perhaps for this reason, the year was marked by the production of a few outstanding works. This is especially true of the theater. Felipe Sassone, in an article entitled Se habla de crisis teatral (Blanco y negro, April 26), declared that the sad state of Spanish dramatic art was caused not by a lack of authors but by the policy of the theaters: Se cotiza el renombre de firma; and Antonio Obreg6n (El Sol, July 16) remarked that good actors were being ruined by the bad taste prevalent in the theater-chistes, palabreria. Evidence is not lacking to support these statements. Dan, by Enrique Suarez de Deza, one of the best plays of the year, proved too good for the public, which fled to other theaters. The management, faced with failure, replaced Dan with La cofradia de los amargados, by Antonio Paso, comedia sencilla, anticuada, graciosilla y anodinisima. Crisis, another play by Pasoautor preterito y fecundo-though much applauded, was regarded by critics as a prueba de desfachatez de nuestros autores mis prodigados. In like manner, great success attended three plays (Morena clara, La boia de plata, and Mi hermana Concha) by Antonio Quintero and Pascual Guillen, imitators of the brothers Alvarez Quintero on a more vulgar plane. The first had over three hundred preformances. These authors offer la felicidad mas rudimentaria para los espiritus menos exigentes. Much more may be said for another exitazo of the year, Nuestra Natacha, by Alejandro Casona. Natacha (Natalia Valdes), having received her doctorate in pedagogical sciences, is placed at the head of a reformatory and exemplifies a sense of social duty profoundly felt, as compelling as the religious vocation of an earlier day. Though the play is not propaganda, its treatment of social problems caused it to be regarded with great favor and it ran until October 29.
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